Sentences with phrase «structure of the film feels»

The structure of the film feels chaotic, perhaps fitting given the subject material but often jarring, at least for me.

Not exact matches

Cinematographer Lachlan Milne's sweeping, colorful panoramas and a chapter - based narrative structure gives Hunt for the Wilderpeople the feel of a storybook fable, but thanks to the warm - hearted dynamic between Ricky and Hec, even the film's most whimsical moments carry a sense of real underlying pain: Both of these characters are outsiders ultimately looking for a home to call their own.

As such, like another second - tier Marvel title before it, Guardians of the Galaxy, that allows for some deviation from the core Avengers films in terms of how things will look and sound, giving us a movie that feels organically different in visual design than most we've seen before, even if it still retains the same formula structure of the rest of the MCU features.

With an approach that emphasises internal feelings and character journeys, over more obvious things like narrative structure and story arcs, this Brazilian - German film challenges audiences to explore a series of important issues in ways movies...

The film has very much the feeling of a Kammerspiel, with a small ensemble cast and a somewhat episodic structure.

It's not just the basic structure of the film that feels derivative.

Each character has his or her own agenda to push forth, and the film does a pretty good job of creating character through this structure, letting them define who they are through these interviews and flashbacks (that often have a cheesy re-enactment feel to them).

«High - Rise» was his controversial take on a cult novel that felt more ambitious than successful, and he follows that up quickly with a film that almost feels like a response to the scope of last year's piece in its minimalist structure.

However, aside from a few jokes — which unfortunately don't always land where they're supposed to — and a handful of enticing action sequences — especially the ones surrounding Flash and Wonder Woman — the film, as a whole, feels simplistic in structure and lazy in execution, with the story lacking substance, ingenuity and enough heart to leave a lasting impression.

Catherine Breillat traversed into the terrain decades later in Romance (1999), but Metzger's film remains a perfect balance of art, eroticism, adult themes... and a bit of pretentiousness that feels more deliberate than accidental, such as the cheeky cutaways to spewing fountains and priapic structures to infer Jean's current libidinous state.

It's easy to imagine a version of Sorkin's play - like three - scene structure feeling too «start and stop» but Fassbender expertly throttles the film's momentum like Travis Pastrana jumping dirt mounds at the X Games.

They never feel gimmicky and it's interesting that the film's structure is somewhat dictated by the limits of the medium (each scene uses nearly an entire film reel).

With a collage of interviews with real - life survivors following the end of the film, it makes a strange shift from narrative feature to an almost documentary - like structure that just feels misplaced.

Perhaps if Clooney had handed the script over to someone to work on the structure of the story, we'd have a film that would secure across - the - board raves instead of the mixed feelings it has gotten from most.

In terms of narrative structure, the previous Spielberg film that Lincoln ends up most resembling is Close Encounters of the Third Kind (1977), which while a more consistently entertaining film still provided a dramatic change in pace and style at the end to deliver a long feel - good sequence as a sort of reward to the audience for hanging in for that long.

It feels less like a structured script and more like a series of locations written on post-it notes laid out to seem like a film.

The structure shares something with Christopher Nolan's Memento, but while that film was a Jenga tower of narrative riddles, precariously stacked, The Captive feels more like a scattered pile of jigsaw - pieces, which you group by colour and tone until the larger picture starts to cohere.

At first this approach seems counter-intuitive for a movie filled with fantastic creatures, structures and situations, but it ends up being effective for that very reason: it makes you feel as though you're seeing a record of things that are actually happening, and it makes «Coco» feel gentle and unassuming even though it's a big, brash, loud film.

Describing the significance of Ottinger's work today, Paterson says: «I felt that her particular exploration of the potential in splicing documentary and fictive structures resonated with a lot of artists» film made over recent years, but perhaps through a more riotous and unruly mode of practice».